Word: sons
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Dates: during 1950-1959
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...tightest-packed briefing of the week came from three veteran, well-prepared briefing officers: Son John, Press Secretary Jim Hagerty and Appointments Secretary Tom Stephens, all just back from riding the presidential jet over the whole 22,370-mile route. For two hours they went over the schedule in detail, pointing up problems, pitfalls and plans. The President suggested a few changes, approved the bulk of the plans. Highlights...
Guevara, a slim asthmatic who keeps a glass inhalator close at hand, becomes the country's economic commissar (while holding onto his auxiliary job as commander of Havana's Cabana Fortress). The son of an Argentine Communist mother, Guevara got his M.D. in Buenos Aires, then decided that "curing nations is more exciting than curing people." He turned up in Red-lining Guatemala of the early 1950s, where the man who was instructed to hire him as an inspector in the Agrarian Department remembers only that Che was identified as a "Communist from abroad." With this sinecure...
...Conductor Erich Leinsdorf, a Mozart specialist, led the orchestra correctly, but without paprika. Apart from Mezzo Regina Resnik, fine as an old fortuneteller, the only really convincing member of the cast was Walter Slezak, making his Met debut as the pig farmer, Szupán. The son of famed Tenor Leo Slezak, 57-year-old Actor Slezak had wanted to stand on the stage of the Met for as long as he could remember, was delighted when he got his father's old dressing room...
...Loss of Roses finds Playwright William (Picnic) Inge once again in the Middle West of a generation ago, portraying troubled, torn, anonymous lives. This time, he considers the jangled relationship between a widow (Betty Field) and her 21-year-old son (Warren Beatty), and what happens when an out-of-work tent-show dancer who had once been their maid (Carol Haney) comes to stay with them. The mother-whom the son deeply resents because he is too deeply drawn to her-had been happily married and, because of the boy's attitude, has given up marrying again. Aware...
Playwright Inge has once again, with the help of a good cast, achieved his sharp little vignettes, his touching, muffled cries and lonely moments. In the mother he has created an interesting variation on a type, and in mother and son he has clearly sought to probe one of the most difficult and tangled of human relationships. That he has not done so seems due partly to method and partly to mood. The dancer's role, whatever its own interest or its catalyst value, somehow obstructs the son and mother story and keeps it from breathing. Into a short...